Mozart wrote his great masterpiece "Le Nozze di Figaro" in just 6 weeks, and ever since 1786,
singers, conductors, orchestras, directors and of course audiences have been filled with wonder. Opera Nova's first Mozart
opera was very enjoyable, but I think the company realises now perhaps more than when rehearsals started that this is a work
of stature. Fielding no less than 20 soloists, a good chorus, and a pleasant albeit small orchestra, Opera Nova are to be
congratulated for making this wonderful piece accessible to the people of Orpington, and for creating so many opportunities
for singers.
GEOFFREY BOYD both conducted and directed the piece, and I wonder if on reflection he feels that he
would rather have done one or the other, for even though I enjoyed my evening, I was left with the very real impression that
musically and dramatically the company were capable of a beter performance. "Figaro" is a complicated work, and there was
much detail in the music and drama which I missed. There was at times a lack of contact between pit and stage, and many of
the tempi were for me just too fast; particularly "Porgi Amor", "Dove Sono", and "Deh Vieni".
The performance I attended was thoroughly enjoyable. Its greatest asset was the very high standard of singing. The ensemble and balance, both on stage and between stage and orchestra, was most commendable, reflecting credit on the conductor. The few chorus items, likewise, were extremely well done. I felt that all the cast were expert in both singing and acting which was a prime factor in the success of this production, as was the clarity of diction. I particulary liked the interaction of the characters, responding to each other in just the right way, with no hint of exaggeration. The scenery and costumes could not be faulted, apart from an annoying door that repeatedly refused to close properly
Leonard Davis, Words and Music
.Bartolo and Antonio were played by one singer as they were in 1786. It is generally agreed that because of this Mozart and Da Ponte changed the order of numbers 17, 18 & 19 at the last moment to allow sufficient time for Bartolo's costume change. The original intention, as is now usually played, was for "Dove Sono" to come between the Count's aria and the Sextet, and dramatically as well as musically, this works better, but not of course if Bartolo is doubling as Antonio! The arrangement for small orchestra (arranged by the conductor I believe) worked very well, giving a rather drawing room level of accompaniment so that we heard the singers at all times. I'm sure Mr.Boyd missed as I did the dynamics in the finales and marches, but we all understand the restraints of budgets!
ASHLEY BREMNER was
singing his first major role and was in fine voice. A good baritone with a very pleasing manner on stage I am sure he can
look forward to much success. His Figaro was, if anything, a little bucolic rather than the accomplished and confident valet
who had won Rosina's hand for Almaviva a few years earlier. Susanna seems to do most of the work, but Figaro "runs the
show"! DEBRA MORLEY's Susanna was full of wit and charm, and was sung with confidence and accuracy with a belcanto which at
the end of "Deh Vieni" was magical. She was as fresh at the end of the evening as at the beginning. TIM BALDWIN gave as a
Bartolo of dignity and an Antonio of good Norfolk wit. This was his first Mozart opera I hear, and it was extremely well
sung with authority and accuracy.
SYLVIA CLARKE's Marcellina was just as it should have been. It is unusual to
hear a contralto in this role, but Sylvia's voice is exceptional - particularly in range and flexibility so clearly
demonstrated in her act 4 aria. LEO SHEARING gave us a Cherubino of impertinent adolescence, and IAN PRIESTLY a Basilio in
appearance more like Jesus than an oily gossip and self-appointed spy for the Count. He sang beautifully, and clearly
enjoyed the complexities of the plot, but with such a wholesome and youthful interpretation it was difficult to see why
anybody should dislike him!
JONATHAN FINNEY's Count was disappointing. On the whole it was well sung, for this is
a good voice, but dramatically he was ill at ease, and never quite seemed to settle into the character. CAROLE FISHER-GRANT
gave us a Countess of quiet dignity and sadness. Her singing touched our hearts and reminded us of the tragedy of the story
for she and the Count have been married just a few short years. PAUL MILLS sang a stuttering Curzio (Mozart admitted after
the first performance that he was wrong to oppose the idea of a stutter) although he could have been given more business
with the Count, particularly in the Sextet, and CAROL-ANNE GRAINGER an engaging and well-sung Barbarina. JULIE HYLAND was
the bridesmaid, and the large chorus gave an extremely good account of themselves. KERRY STRICKES' choreography was just
right, particularly the humorous fandango danced with such panache with ADRIAN POPE.
This was an extremely well
dressed production and the set was cleverly conceived and executed. There should have been a screen in the Countess's
boudoir since the Count would have had to be blind not to have seen Susanna, and the letter duet should have been sung at a
desk or table. Because of the order of scenes chosen, it was not possible to write at the Count's desk, but perhaps the
servants could have brought on the table just a little earlier for the wedding scene.
May I recommend a book to
the singers? Written by Joachim Kaiser, and published by Weidenfeld and Nicolson, "Who's Who in Mozart Operas" is I think
essential reading as part of the preparation for a Mozart role.
Peter J. Clarke, NODA
